A second single from Swindon Diva Chloe Hepburn, Situationships was released this week. With a deep rolling bassline, finger-click rhythm and silky soulful vocals, this is the definite RnB sound of now, with nods to nineties RnB like Macy Gray and Mary J. Blige….
Though this is fresh, I believe it’s fair to compare Chloe to such RnB queens, for the elements are composed accordingly; the poignant relationship prose of passionate writing, and the sensual tone expressed simply both rinse out those sombre amatory vibes commonly associated with the genre, especially with female vocalists.
Chloe I’ve just discovered, but it’s an immediate like from me. Soul is not the typical style we find much of here, therefore when it does you’ve got to take it on the hip and make the most of it! It’s been six months since her last single On The Run, which takes a slightly more ballard approach, and followed by a five track EP called 7 Months, tending towards a pop sound, and that RnB style reliant on and spliced with dancehall, and even house. But, when you’ve finished listening to the moreish Situationships, you’re duty bound by your ears to delve deeper into Chloe’s back catalogue.
But more importantly, now we know of Chloe Hepburn we look forward to hearing what she will do next, as I believe this emerging soul artist has not yet reached her peak, and we need to be there when she does. Situationships filled me with the confidence Chloe is destined for greater things. It’s a gorgeous single, oozing with potential and only trickling with the necessities to produce something groundbreaking.
A leopard doesn’t change its spots, and neither does a British Lion. Watch other Devizes pubs change landlord, decor, attractions, and styles. Watch them close, reopen under new management, and try something else, while the British is steadfast and loyally imperishable. Ask anyone in Devizes their favourite pubs, and they’ll have different answers, then add The British Lion to the list for good measure….
What better setting for the last day of a most memorable Devizes Arts Festival than their extensive suntrap beer garden?
Old timey rhythm and blues blessed the full house, delivered with unique flavour and proficiency from a family Southampton come Birmingham (apparently) quartet, called The Junco Shakers.
These free fringe events provided by the Arts Festival are them at their rawest, letting their hair down and attracting the Devizes bohemians, alongside regular punters and everyone in-between. For this notion and the uniformed venue, the timeless Junco Shakers were a perfect match. I’d consider it skiffle. At least they used a washboard and percussion brushes, though over time, this has become a vague description. It felt bone-shaking blues of yore. At times, an upright double-bass gave it a rockabilly edge. It was jumpy and infectious, immutable enough to not warrant pigeonholing, so I’ll shut up!
With a barbecue sizzling bangers, the sun with his hat on, and just about everyone who’s ever sunk a pint in the British in attendance, it was the epitome of the Devizes spirit. While many here desire a political change and excuse me for getting political, in divertissement, the formula of this free house is unchanging; reliability, and a cracking selection of cask ales and ciders.
For those now with a taste of poison, The Three Crowns had Pat and Ben’s Matchbox Mutiny at 3pm, the Southgate hosting Jon Amor’s favourite guest LeBurn Maddox at 5pm, and the Devizes Arts Festival itself polish off with a free poetry slam at the Wharf Theatre. You can see now why I had bitten off more than I can chew when highlighting what’s happening in Devizes, as for a market town its size, this is just a typical sunny summer Sunday here, and we’re spoiled for choice. Me? I went home for tea and bed; those pintas won’t deliver themselves!
As for the British Lion, it rarely puts music events on, but when it does, the population rise to the occasion, remembering with fondness nights of yore in this award-winning pub, who gave them ‘Black Rat Monday,’ the Saturday quiz, and the eminent stalwart landlord Mike Dearing.
We thank the team at Devizes Arts Festival. It’s been another fantastic year, and we look forward to many more.
It got me reminiscing, the EP helping through washing-up the roast dinner plates this Sunday, Trowbridge-based Frankisoul’s newly released debut, On Fire. Ruminating my student days in the late eighties, whereby it was expected of us to take in the contemporary bleeps of acid house, blasting from a VW Beetle speaker while crowds nodded their bobbed haircuts and pointed fingers in time with the electronic clamour. When secretly, alone I, hopeless romantic, still listened to the likes of Luther Vandross and Alexander O’Neal….
I wouldn’t admit it at the time, such was the affectation of teenage “cool,” to resist the grain would induce banter of the highest order, for it was mush, mush I happened to like! But if our local music scene is awash with rock, rock is a chameleon, forever warping into subgenres, often tiresomely to keep mainstream. Soul though, is a leopard, it never changes its spots. It works on the basis if it isn’t broke, thus will forever remain mainstream without the need for concern.
Sure, through time soul has progressed, and looking back it had moments which by today’s standard look timeworn, but the basic template hasn’t changed since the days of Motown and Stax, since the days of Little Stevie Wonder and Aretha. But damn, if I thought this was going to be “okay,” I never imagined I’d be comparing Frankisoul to the likes of such legends.
To begin with the title-track opener is upbeat pop, and you get immediate shards of Bruno Marrs or Pharrell Williams. How Happy works so well in the Despicable Me sequel, how you can’t prevent your feet from tapping even if you wanted to, well, On Fire is equal to the sum. If the first notion you get is, “this a local guy, not up there winning a MOBO?” by the EP’s conclusion you’ll be wanting a full inquiry into why not.
What follows is five tracks of concentrated soul of the quixotic-romantic, and your Bruno or Pharrell comparison develops into the proposition if those two could be more like George Benson, what might come out the other end is not far off Frankisoul. I’m not bluffing here, man, it’s sublime and of a quality to follow the soul train to the buffet cart of achievement. Frankie has spent a great deal of time and attention on this, and it shows.
For the third tune has the backbeat of modern RnB, with a sparser dancehall offbeat than the likes of nineties, Mary J Blige et al. Whereas Natalie, the following tune is sensual and smooth, perhaps the most evoking. But we’re not over yet, Little Too Late is single quality material, a ballad arguably the most timeless on the release, the strength of Frank’s vocals is felt here, and it’s mind-blowingly beautiful.
I’m going to throw it out there, I’d like to hear this guy belting out an Otis Redding, the true test for a soul singer, and feel he would pass with distinction. The finale proves this point more than any, simply titled I Love You So, it wraps up this sensually poignant EP perfectly, and with subtle guitar solo, it heralds my point about the basic template of soul not being broken, so no need to fix it.
You should not delay, do it today, this is Sunday music, take a listen and decide for yourself. My preconception it might be “alright” was turned on its head, Frankisoul deserves recognition for his naturally flawless voice, which just eases you in soulful bliss; top job!
Chippenham folk singer-songwriter, M3G (because she likes a backward “E”) has a new single out tomorrow, Friday 19th December. Put your jingly bell cheesy tunes…
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In a remarkable finale to the season for Long Street Blues Club, London-based The Errol Linton Band presented Devizes with a sublime lively blues blend of delta and RnB, incorporating jazz, funk, reggae and ska too. But if the band’s proficiency in implementing this melting pot sounds erratic, the perfection was in the precision of switching through subgenres. The result was simply infectious.…..
It’s rarely mused, given the contemporary influence of Jamaica’s musical export, that prior to reggae its route lies with the removal of shortwave radio stations provided for American soldiers stationed on the island after WW2. As they disembarked Jamaica they left a blossoming sound system culture, the entrepreneurs of which set up recording studios as supply of US 45s declined.
They pulled from the influences they heard, jump blues particularly, and within these walls is the fabled Duke Reid session with Prince Buster, whereby copying the offbeat experiments of Fats Domino and Barbie Gaye, as was popular on the sound systems, and riding the shuffle beat style of T Bone Walker, a timeout was called and the guitarist ended by running the shuffle backwards, accidently creating “the ska.”
Even less widely known; initially Duke Reid wasn’t in favour of ska, but as the government promoted it for tourism as “Jamaica’s first national sound,” obviously he felt he’d lose out if he didn’t follow the trend. So, pre-ska, and even during its explosion, the Jamaican studios continued to put out as wider variety of sounds as they heard on US Radio, from blues to doowop and even country. This is a necessary backstory to capture the ethos of Errol Linton and his band, as Errol and two-thirds of the band have Jamaican heritage, are keen to emphasis this, and however subtle, everything mentioned gets a nod in their performance.
Errol is also an accomplished artist, creating portraits of his influences gives clear indication of who he is citing, the blues legends, from Sister Rosetta Tharpe to Louis Armstrong and beyond. Yes, the band deviated from blues, to throw down a jazzy number, to increase levels of danceable funk, and with a narrative of Howlin’ Wolf visiting Jamaica, they covered Howlin’ For my Darling with a matchless ska offbeat. Particularly diverse was an original “Country Girl,” as while maintaining one-drop reggae, the chorus verged onto a dancehall riff. It was right up my street and knocking loudly on my door, but I paused to observe the more blues aficionado regulars enjoying it equally as much as I!
For all the diversity I’ve noted, and mentioned the pleasure was in how proficiently they switched, even mid-song, this tight arrangement was best at delivering blues, and did so second-to-none. Frontman Errol gliding between vocals and harmonica, cherry-capped pianist Petar Zivkovic lightening on the keys, Lance Rose in porkpie hat, chilled on the upright double bass, perfectionist timekeeper Gary Williams on drums, and guitarist Richey Green presented the funkiest dancing show during play, the combo was spellbinding.
But none of this happened before Devizes-own Adam Woodhouse delivered the textbook support slot. Confident, despite his first outing at this blues appreciation society in which regulars will aim all eyes on you, Adam kicked off with an Elvis rendition of That’s Alright Mama, and with top-notch finger picking, continued covers with a remarkable Johnny Cash. Adam, a regular soloist at The Southgate and attendee of their celebrated Wednesday jam session, had some originals of his own, which were executed with panache.
A most memorable evening was had, in which frontman Errol reigned the moment, showing this natural ability accomplished over thirty years, since a busker of London’s streets. This is British blues at its finest, individually stylised yet heavily drawing from his roots, a perfect blend to homage his heritage, entertain and packaged in such a non-pretentious manner, you couldn’t dislike it; impossible!
An absolutely blinding night for the Long Street Blues Club, organiser Ian Hopkins’ smile said it all, as he clarified he’s been trying to book these guys for a while, and made a promise to the crowd they’d return; you need to be there when it does. The next season starts on 20th August, with anticipated return of Skinny Molly. Worth mentioning though, being we’ve discussed the early stages of Jamaican sound systems and Duke Reid’s Treasure Ilse, competitor Coxsone Dodd over at Studio One gave fame to a majority of reggae artists, yes, including Bob, and another crowned King of Rock Steady, Alton Ellis, that Alton’s son, Troy is on in Hillworth Park around about 3pm today. So, get your sandals on, unless you remain adamant nothing ever happens in Devizes!
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Glad to find time between running Dad’s taxi to nip over to Devizes’ trusty Southgate, for one reason unworthy of explaing here or another, feels like an age since frequenting our favouritemost tavern, and I’m all smiles to return.
Historically efficient, nonetheless, I’m here to find out what the men are worried about; possibly an ironic namesake for Jamie Thyer’s tradtional electric RnB three-piece, a pub trio very worthy of your attention, should you not have come across them on their 28 years on the circuit.
Sure, I’ve seen The Worried Men’s name about a bit of recent, last time listed at Trowbridge’s Pump with our Tamsin in support. Maybe there’s the reason for my assumption it’d have a folk twinge, but you know what they say about assumption.
Marvellously proficient, in a manner vien of classic sixties and seventies rock bands derived via blues rather than folk, The Worried Men seemed not in the least bit worried to me. Rather brewing in deserved confidence, Jamie’s wealth of experience shows as his fingers glide across those strings, governed, it seemed, from the gods. At one point this guitar virtuoso accepts a mug of tea, drinks it mid-song while continuing to make it look like childsplay.
Treated to the perfect balance of originals and self-stamped covers, they weaved between electric blues and psychedelia rock n roll with a clear nod to its roots. So to blend any subgenre fitted sublimely into a firey set, whether Deep Purple’s Smoke on the Water riff, frenzied hints of punk rock, mellowed Flyod-eske moments or reaching further back to rock n roll’s golden era, every experiment in rock history was crafted into their unique style, without the need to metalise. Though Motorhead did get a moment in their repertoire.
What came out the other side was a loud and proud plethora of excellence of which you could only nod your appreciation to, confident you were in the hands of some really experienced long-haired rockers with Cuban heels.
Jamie holds an expression of concentration, occasionally looking up at you through these spellbinding Hendrix fashioned exercursions, as if to ask “is that alright for you?” Like a dentist with his tools stuck in your gum, you feel like responding, “yes, fine, thank you doctor.”
I guess therein lies the beauty of the rather cramped Devizes answer to the 02 arena, virtually perched atop of a band you’d usually witness from a stage distance, makes it an intimate experience, personal. While this may not suit all, The Southgate does it their own way, and they continue to host free gigs you’d happy pay a ticket stub for.
For this, and the clash of similar as The Long Street Blues Club knocking out, I’d suspect, a blinder at the Corn Exchange, last night down the Gate wasn’t as full as it could’ve possibly been for an act so warrent of the highest praise possible. Again, the strive in The Gate to present us with great live music every weekend needs nourishing and respecting, with other local boozers only doing this sporadically, it’s the only dependant offering of entertainment in town, unless of course you keep up with what’s happening via this rather special website, if I do say so myself!
So, if you were in that exclusive club last night, I wager you were as bowlled over by The Worried Men as was I. From moments of intricate guitar picking with amps low, to the frenzied finale where Chuck Berry’s “Bye Bye Johnny,” fused into medley with Muddy Waters’ “Little Red Rooster” with emphasis on the Stones cover, and The Kingsmen’s “Louie Louie,” with an audience participation encouraged encore of Them’s “Gloria,” this surely was an astounding performance to satisfy the craving of rock aficionados from any given generation.
Onwards, next Saturday’s offering at The Southgate also takes on a blues edge, slightly east of us, local blues group Barrelhouse take up the legendary alcove, and take it from me, if you like your entertainment as gritty and vintage as the great Howlin’ Wolf, you’re in for a treat.
Chippenham folk singer-songwriter, M3G (because she likes a backward “E”) has a new single out tomorrow, Friday 19th December. Put your jingly bell cheesy tunes … Continue reading “Rooks; New Single From M3G”
South West’s resident Johnny B Goode, Ruzz Evans celebrates his thirtieth birthday with the release of a live album, Against the Grain. I caught up with him for a quick reminisce, and chinwag about the album……
As suggested, it was recorded at Frome’s Cheese & Grain on 19th June 2021, postponed due to lockdown. Such dynamic and regenerating conditions really breath atmosphere into this album, and it captures the mood of a band excited to re-emerge from isolation. Though by now, we’ve come to expect excellence from Ruzz Guitar’s Blues Revue as standard.
Featuring tracks from the band’s previous releases it also includes tracks from Ruzz Guitar’s recent video series “RG Sessions.” It’s uniquely delivered blues, RnB, rock n roll fusion with feelgood big band vibes, often frenzied and danceable, lengthy moments of extraordinarily proficient jamming, yet, like Longing to See You on this album, there’s always time for a concentrated ballad.
And oh my, if there isn’t Ruzz doing a sublime guitar solo of Louis Armstrong’s Wonderful World, then joking about breaking a fingernail, but the complimenting talent behind the man is second to none. Blues Revue drummer Mike Hoddinott, bassist Richie Blake and Graham Nicholls on rhythm guitar, with a horns section of Michael Gavaghan on sax, Jack Jowers on trumpet and trombonist Will Jones, and special guests’ incredible vocalist and pianist Pete Gage, who is fast becoming part of the furniture, and breathes real gritty delta blues ambience into the collective, along with sublime harmonica by Jerry Tremaine, who simply wows on Baby, Scratch My Back.
Seriously, this is eight hard-earned pounds well spent. I’d say it’s better than the previous live album, Live at the Louisiana, we fondly reviewed a couple of years ago; Ruzz agrees, a quietly proud perfectionist, I figure.
But I want to get deeper into the psyche of the frontman, find out what drives him, when and how he first picked up that instrument. Firstly though, on this new release, I had to compliment the aforementioned Wonderful World solo. “That reaction is what I was aiming for,” he replied, “I wanted to bring something new to the table and challenge myself. I’m really happy that it came across as I wanted!”
Just checking this recording at the Cheese & Grain was the first live show they did after lockdown, Ruzz confirmed it was, “we had done an online set back in August 2020, and one small gig before all the lockdowns came back in heavier. That show was our first, full band show since the Devizes Rugby Club gig in March.” Ah, yes, what a way to go out that was!
Treated of a number of streams during lockdown, I asked if they considered continuing them. “Definitely. I’ve been trying to think of the right events to live stream to anyone who can’t make it in person (I.e., my international audience). I want the streams to be more than just me sat at home with my guitar all the time,” Ruzz chuckled. “I want it to be as much an experience for people watching the stream as for the people at the live event.”
Jogged my memory of a great stream from his garden, and though it was strange at first, seeing musicians in their home, on their sofas, some even with washing on a clotheshorse in the background, some made an effort to avert from the standard; I recalled Jon Amor climbing out onto his roof like a 5th Beatle! Ruzz laughed, “Jon had some great ones!”
Jon Amor. Image: Nick Padmore
This is Ruzz Guitar’s Blues Revue’s seven album, and out of them there’s three live ones, including Visual Radio Arts in 2018. Does he think he projects best when live, rather than a studio?
“I love working on music in the studio, but yes,I think this sort of music is best experienced live,” Ruzz answered, though I suspected as much. “It wasn’t a conscious plan to do three live recordings but I can honestly say that this new one is my favourite by far. I feel the band is playing better than ever. I’m always trying to capture that magic on our recordings, whether it’s in the studio or live.”
I wished him a happy birthday and counted it an ideal opportunity to trace his past and discover the very beginnings of Ruzz Guitar’s Blues Revue.
“My dad and youngest brother play music,” he answered my family connection to music question. “I got my start into live guitar playing through my dad. Back when I was 16, he put a band together to feature me on guitar; I haven’t looked back since!”
The first time he picked up a guitar? “When I was 15. I had started on bass and drums, around 14, but was shown a George Thorogood DVD and then taken to see him live. After that I decided to learn slide guitar, then Jimmie Vaughan and Brian Setzer came along, and the rest is history.”
Ruzz at 20!
I wondered if they commonly had requests for cliché rock n roll hits, imagining drunk punters asking for Heartbreak Hotel or That’ll be the Day, but would Ruzz appease such appeals, and in that, did it start out this way. “I have played all of those in various rockabilly bands over the years; great tunes, but maybe not quite right for the current band!”
Originals is what you get with Ruzz Guitar, outstanding ones, yet he cites the blues, RnB artists as influences; Dr Feelgood, The Fabulous Thunderbirds. “I try to take from many places,” he laughed, “Wilko Johnson, BB King, Reverend Horton Heat, Steve Cropper; to name a few.”
Anticipated responses, so I thought I’d throw a curveball for the finale. I use the urban myth of Hendrix taking his guitar everywhere, to my kids, as a testament to dedication, and how hard you must strive to perfect something, any goal you might have. It was reported Hendrix took it to the toilet. I asked Ruzz what drives that dedication in him, but not before inquiring if he too, took his guitar to the loo!
He chuckled at this, and for the record answered, “I haven’t gone that far!”
“In all honesty I don’t know. It’s just something that’s felt right since I started learning. It’s been the one constant in my life since I was 15. There’s nothing more enjoyable to me than learning more with it, writing my own music and standing up in front of a group of people and taking them on a musical journey with me… it’s just what I was meant to do with my life.”
Well, at just thirty he’s certainly achieved it, this album is proof. He signed off with “hope to catch up in Devizes in March!” And there’s a thing, 12th March the Wiltshire Blues and Soul Club are indeed at the Corn Exchange with Ruzz Guitar’s Blues Revue headlining, which we’ve already previewed, here.
The live performance from the Cheese & Grain can be seen on YouTube for a limited time, here.
And Yes, Ruzz Guitar does feature on our compilation album, all in aid of Julia’s House; please download a copy here
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You remember being given some coursework, when back in higher education, with various objectives and your task was to choose one to complete? Not really wanting to do it, you go to the student at the top of the class, and ask them what they’ve done. They reply, “ah, not much,” and this gives you the cue to do absolutely nothing. Then, on the day of handing it in, they’ve unexpectedly produced the single-most awesome project, covering all the objectives in one ingenious combination, and you stand there with zilch, except a jaw hanging and an implausible excuse, which you made up on the bus coming in?!
I’d imagine Onika Venus to be just like that. Now Bristol-based, Jamaican-born Onika plays Trowbridge Town Hall on September 18th, so, given reggae is cited as an influence, I thought I’d check out her debut solo album, Everything You Are, which was released back in March.
The title track was chosen as Songsmith’s Song of the Year 2020, and it’s easy to hear why. I’ve not been this blown away by a female vocalist since discovering Minneapolis’s Mayyadda.
Immediately this pushed my buttons, but if this opening title tune is decidedly acoustic blues, with a distant harmonica resounding in the background, there’s a truckload more going on than the first impressions here.
The premise from the beginning is as simple as, Onika Venus has the prevailing soulful voice to carry whatever genre is thrown into the melting pot, and drizzle it over you like hot sauce. It only leaves you pondering how far she will take it. The second tune I pigeonholed as RnB pop, a contemporary Macy Gray or Erykah Badu, aiming for chart success. When I’m Broken carries this concept to a higher height, and is simply, the model formula of popular music every song should aim for.
Yet, three songs in and here comes the Caribbean influence. Friday Love has a clear mento feel, it’s immediately beguiling, a good-time chugging song in the face the despondent romance theme. This will occur again towards the middle the album with Who’s Been loving You. Again, with Shotgun there’s similar appeal, perhaps the most definable as “roots reggae,” and, for me, they’re the favoured sections.
But it swaps back to the mainstay for track four, steady soul with an orchestrated ambience; Everything has its Season, is the ideal equilibrium to bless that heavenly voice and compose this euphoric moment of bliss. After a surprising modern dancehall intro, we’re back to an acoustic guitar riff for the poignant The Storm, using sax to mitigate jazz. I Need You, though, has kick-ass funk, Ike & Tina Turner in their prime.
With only three tunes to go, just when you think influences have been exhausted, there’s a duet with a male voice, supplied by husband, Mark, Mary, sounds classic Americana, as if Joe Cocker just walked into the studio and said, why don’t you try this?!
To keep you guessing what the last couple of tunes will hold, yeah, folk is strapped onto soul, Reaper Man aches of Aretha Franklin, but by this point you just know Onika Venus can carry this off with bells on. Raising the bar of comparisons is justified, believe me. For when it’s funky I’d give you Randy Crawford, Chaka Khan, and when it levels with acoustic and folk, her voice dishes out notions of reggae heroines, of Phyllis Dillon or Marcia Griffiths, and the gospel finale, yeah, Aretha will be justified, if not Sister Rosetta Tharpe; it is this magnificent.
Yet, unlike all these aforementioned legends, the style here is not monocultured, neither does it jerk from genre to genre without consistency and flow. Onika Venus gives volumes to the eclecticism, and it moulds efficaciously into one melting pot, beautifully. Prior to this solo launch, in a band called Slyde, her voice customised their breakbeat, techno and house style, to great effect, and I can well believe it. The flexibility of her skill is captured here, I’d imagine as comprehensively as she chooses personally, and just as the student who bursts in effortlessly, with the homework complete and to an exceptional standard, Onika Venus makes this look easy!
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Not to be confused with Howard Rosen and Jerry Gordon’s American jazz and blues record label of the same name, Evidence Music is a prolific contemporary reggae label with their recording studio in Geneva, Switzerland, but franchising and presenting many upcoming Jamaican artists. Ergo, while I’ve mentioned before the Swiss valuing archaic origins of reggae, with ska, rock steady and roots subgenres through labels like the fantastic Fruits Records, Helvetia also has a penchant for modern styles of Jamaica’s musical outpourings.
A decade prior to Bob Marley & The Wailers playing Zurich as part of their final Uprising tour, the presence of reggae was oven ready, in the seventies popular Swiss band Rumpelstilz produced Kiosk, with a definite reggae influence. Nowadays, the international market blends their own brand and traditions into reggae, and the Swiss are of no exception. Local artists Dodo and Jo Elle perform in the native tongue, and Zurich’s Rote Fabrik club plays a key role in promoting reggae.
Still though, back across the ocean reggae is never stagnant and rarely dabbles in retrospection. It’s progressive. I look now to Wellington Smart, aka selector Freddy Kruger’s Boot Boy Radio show after my own, to hear the latest trends via his label, Drop Di Bass and what I do hear is similar to Evidence Music’s DJ and producer 808 Delavega, on his self-titled debut album.
In tune with said progression, we’ve come along way from the nineties divide between dancehall and lovers, through the millennial cross-over inclination to include dancehall toasting in US RnB and hip-hop tracks, and we find ourselves today with a sound almost void of offbeat and one-drop riddims antiquatedly associated with the reggae of Marley’s heyday. An era where Damien Marley’s anthological dancehall is more important than his father’s. 808 Delavega embraces this, he’s passionate about hip-hop as well as dancehall, and founded Derrick Sound in the 2000s.
With Nicolas Maître and Nicolas Meury of Little Lion Sound, Derrick Sound was the mainstay for the formation of the Evidence Music label and it fast become Switzerland’s leading urban label. There the team involve themselves in a multitude of projects, 808 Delavega produces popular Jamaican artists such as Sizzla, Capleton, Morgan Heritage and Danitsa. Reflecting back on his excursions to Jamaica, he focussed on the innovative subgenres of afrobeat and trap to produce this fresh debut, and it’s certainly that.
I’m not going to suggest this is for everyone, our retrospective preconceptions of reggae persist, I’m suggesting forward-thinking youth, maybe already partly allied via current pop trends in dancehall which seen Sean Paul featured on a Little Mix track, et all. But in essence this is diverse, experimental, and underground, pulling the boundaries of RnB grind and dancehall even tighter. There can even be intros here which ring of eighties electro and electronica, and relics of garage house; imagine David Morales producing dancehall and you’re somewhere in the light of this interesting blend. How I think this works so well is the splinters of afro-beat, a beguiling genre I’m personally hot under the collar about.
Always held a penchant for dancehall too, though accepting the sparseness of the beats and uncompromising patois can sound alien to European and American audiences. 808 Delavega plays this down. The jargon is not misconstrued, and once the beat kicks in you’ll hear nothing of the of scarcity of millennial dancehall, but riddims which ride along smoothly, like RnB. Dancehall artists established and upcoming feature, yet even when legendary Beenie Man toasts on the subject of election violence, it adopts this ambiently slick tenet. It may be rather glossy but this breaths wide-appeal, beyond reggae aficionados.
Charly Black offers possibly the sparsest track, Eesah perhaps the most sensual. Throughout though it never frenzies and takes it mellowly and euphorically. So yeah, I like it (despite it makes mi waistline feel old!) for its innovativeness, and freshness.
Last time I saw Jon Amor he was queuing for Sainsburys. Sign of the times I suppose, would’ve much preferred to say we were in a pub or hall, and Jon was doing his thing. Capers, was what, he explained, he went in for. Those Mediterranean pickled berries, I figured; Jon is as epicure with his tucker as he is with his music. A new single, Peppercorn, expands the hypothesis; he’s cooking alright.
A contemporary blues performer with an established diverse repertoire, I was surprised upon reviewing his 2018 album, Colour in the Sky, of a distinctive and quirky fashion akin to late-seventies pop-rock in the more beguiling tracks; a drainpipe-suited Elvis Costello, of type, and songs as good to match. I’m thinking of the tracks Red Telephone and Illuminous Girl in particular, they don’t follow the archetypical modern bluesman manner, they’re upbeat, zany and define a certain panache emerging with Jon. I’m pleased to say Peppercorn doesn’t just correspond with this notion, but expands upon it.
Accompanied by video of crazy antics around his home, presumably recorded over his many entertaining lockdown live streams, with not only a rather perfected Ministry of Silly Walks tribute in snappy blue winkle-pickers, but an amusing puppet sequence to scream Sledgehammer at you. This is a quirky, catchy little tongue-in-cheek number. From Shanks & Bigfoot’s Sweet Like Chocolate to, more appropriately, The Soul Leaders’ boss reggae classic, Pour on the Sauce, food innuendo is no new thing in music; Louis Jordan nailed it in the thirties. Still with his demarcated and inimitable stylishness, here’s Jon’s own take on it.
With a little slide-guitar intro, after thirty seconds it’s having it; immediately enticing and definingly why Jon Amor sets the local live music bar high. Though he is, the hybrid between man-about-Devizes-town and blues legend. At a quid from Bandcamp, this shiny example of why is a winning dish.
Ah, hold tight, two preview pieces from me tonight; I’m an unstoppable steam train of broadcasts, choo-choo! Yet, I’m not sure this needs an introduction, not because we’ve been running the poster for it a while now, but if you’re in the know regarding Devizes links to blues then the line up at the R’n’B Bar at The Sports Club on Saturday 14th March will appeal no end, and you’ve probably snapped the tenner tickets already. If you’re new to said scene, then this gig would act as the ideal taster; digest this……
Legendary bluesman Peter Gage, former frontman of The Jet Harris Band, member of Dr Feelgood who blew the roof off Long Street with Dave Raeburn, Paul Hartshorn and Pete Lowrey as The Pink Tornados in December, will headline. But come here, there’s more. The guitar maestro I’ve been raving about, Mr Ruzz Guitar and his Blues Revue will also be there, his trio backing, or blessing these otherwise solo performances. I swear his guitar is like a phaser in Star Trek, set to stun, and I’m still speechless after his performance at the Gate a number of moons ago.
While Ruzz is Bristol based, and Peter resides in the west country too, both Devizes links to the contemporary blues scene also show up to do their thing. Innes Sibun, who we featured partnered with Marcus Malone as the Malone Sibun Band on the night they allowed me to roam free at the Long Street Blues Club, and be astounded by the quality of goings-on there. And of course, Jon Amor who is regularly featured here as, well, he’s regularly here, but more-so, because his talent is unsurpassed. Though I’m sure, as when such heroes meet, there will be a communal feeling and we’ll be treated to some improv and guitar-showdowns, rather than a balanced one-off-next-one-on scenario; least I’m hoping.
All in all, this event is like pulling four bells in a row on the fruity; need I say more? See you there. Oh, nearly forgot, slow down, man; tickets on door or in advance from Sports Club.
A cheetah can achieve motorway speeds, but not long enough to get off the slip road; worthless trivia, unless you’re an antelope. I like to think cheetahs listen to rock n roll; no, hear me out. Akin to this feline fact, those RnB and rock n roll classics are one short burst of energy. Fortunately for the artists the 78rpm record lasted a maximum of five minutes, and for radio play they’d cut it to little over three, any longer they surely risk congestive heart failure.
As the era passed to late sixties, psychedelia stretched recorded music to live and extended dimensions Little Richard could never maintain. Mellowing tendency matured rock, but arguably robbed its dynamism. Ah, come the eighties twelve inch single and the mega-mix, prompting the question; why didn’t Glenn Close choose the Jive Bunny to boil?
Rare then it is, to hear a frenzied traditional rock n roll sound encompass ten minutes; welcome to Ruzz Evans’ world. Embodiment of Johnny B Goode, Ruzz can pick guitar like he’s ringing a bell, for an astounding period too. Due for release on 10th February, but available for pre-order from December 1st, I’ve been adoring this album recorded live at the Louisiana in Ruzz’s hometown of Bristol.
Forgive me for sustaining the rock n roll pigeonhole, for Ruzz has the quiff and is photographed in a teddy boy drape jacket. With backing from an incredible band including drummer Mike Hoddinott and upright bassist Joe Allen, the panache of Ruzz Guitar’s Blues Revue straddles rock and its namesake blues. Since 2016, when they added an awesome horn trio to the roster, we can add big band jazz to their style. That’s my thoughts while absorbed in this, of what Miles Davis did to jazz, or Pink Floyd to prog rock, Ruzz does to traditional rhythm and blues come rock n roll; the result is breath-taking.
Bearing in mind his voice isn’t growling Tennessean, yet neither was Gene Vincent’s, rather quirky Bristolian, the vocals are sporadic, instruments reign. There’s an amusing conclusion to “Under Your Spell,” where 10 minutes of detonating electric blues is broken by a genuinely surprised thank you from Ruzz in said accent. This often amuses me, pondering, no, thank you, mate, I just clapped, you’ve just held me spellbound for ten minutes, the pleasure is all mine!
In this instance I’m not even there, merely listening on my headphones, but still entranced. While they’re Bristol based Ruzz and his Guitar’s Blues Revue are no strangers here, and you can catch them at the Southgate (Nov 30th), White Swan Trowbridge (tonight 9th Nov) at the R&B bar in March at Devizes Sports Club. I’m quivering, ashamed after hearing this that I’ve not caught them live yet; an offence I will rectify, you would too if you hear this.
Live at the Louisiana explodes from the off; the two, Hold It and Baby Please Come Home, for starters envelope all I’ve said, lively jump blues come big band rock n roll. Catchy, you’ll be lindy hopping before your first sip. Yet if Movin On groovily notches to allegro moderato, Back Home to Stay boogie-woogies again, and Sleepwalk is as dreamy as it suggests. The last two tunes, Sweet as Honey and the aforementioned Under You Spell embrace all we’ve so far said, making this release, I reckon, a treasure; fantastic!
With two self-released studios albums already under their big rockabilly buckles, and opening for Dr Feelgood, The BlockHeads, Kirk Fletcher and Bill Kirchen and Darrel Higham, they’re stamping an authority of quality worldwide. Ruzz has been honoured by being officially endorsed by Gretsch Guitars, and that’s what I perceive of him, the kind of obsessive guy who will turn any conversation to his labour of love, but when it’s this proficient, you cannot help but take heed. I’m off to find out what they can do in the studio, but with such a formula I think this live album captures the spirit perfectly.
If you like your soul and blues with an authentic vintage feel, look no further than this new Bristol group, The King Dukes….
If Bristol wasn’t the birthplace of a “new cool” through electronic blues in the nineties, with the likes of Massive Attack and Portishead, it certainly led the way. I have to take a deep breath, fetch my pipe and slippers; this is a new era of anti-pop, an era of retrospective tendency, where traditional instruments override our technological desire of the pre-millennium. An era where technology is used only to market, allowing sounds to hark back to a time before drum loops, rap, and the DJ as king.
The king is dead, long live this exciting renovation, and long live The King Dukes. I’m honoured to give you the low-down, about their new journey. Formed in Bristol in April, a merger of a variety of local bands, including Crippled Black Phoenix, Screamin’ Miss Jackson and the John E. Vistic Experience, The King Dukes combine said talent and experience to create a unique, authentic sound, dipped in a heritage reuniting contemporary slices of British RnB with a dollop of Memphis soul.
Set to unleash their debut album ‘Numb Tongues’ on October 25th, I’ve had a listen or ten, and can plainly see why it’s been picked up by UK label, Paratone, as well as French label QSounds Recording. Chatting to guitarist and frontman, Marc Griffiths, I asked him what’s in a name, predicting it might relate to Duke Ellington. While pondering he sent a YouTube link of a track not on the album. This song, titled King Cyrille, is Hammond organ boss reggae, akin to Harry J’s Allstars. It’ a tribute to West Bromwich Albion player Cyrille Regis. “The team used to come out to Liquidator,” he explained, “it’s in conjunction with West Brom, for their podcast, so we did something similar.” Momentarily contemplating the name possibly nods more to Duke Reid, Marc cleared it up, informing me they had a residency at the Old Duke in Bristol, “but that’s named after Duke Ellington.”
I can see why, aside this one-off tune, Numb Tongues is not only dependent on a classic RnB sound, there’s sprinkles of jazz, blues, yet formulated like Stax or dare I say it, Motown. It rolls out in a manner able to slip its tunes into a set of old-time soul unnoticed. Caril-Anne, for example, is up-tempo soul, beguiling through that recipe of yore, simplicity. Kid Gloves is another lively number, foot-stomping soul with a subtle nod to rockabilly akin to The Big Bopper. This one reminded me of Jack and Elwood Blues marching back and forth.
But if this four-beat soul formula rings through tracks like I Gotta Go, and Gone, Gone, Gone is stepping, handclapping doo-wop reliant, Rub You The Right Way hooks into a blues riff taking me to Howlin’ Wolf, and True, True, True nods to bebop. This one has a sublime vocal by April Jackson, who holds a note like Etta James. Generally, the vocals are as polished as the aforementioned soul legends, yet grittily Caucasian, like Jim Morrison’s finest hour.
As a whole there’s much going on here, but whether there’s echoing vocals like the ballad, Dying Man, with a breezy jazz-come Otis Redding passion, or, like Marlo Cooper, it’s a blast of instrumental groove, comparable to Stax session musicians Booker T & the MG’s, it’s all stylised and flows superbly. In fact, it was mention of an Otis Redding post on their Facebook page which got Marc and I chatting; glad I did now.
With Marc and April, there’s drummer Dan Clibery, bassist Mandrake Fantastico, Henry Slim owning that Hammond Organ and Harmonica, and a fiery three-piece brass section with Joss Murray on Trumpet, Rebecca Sneddon on Tenor Sax and Sarah Loveday-Drury handling the Trombone.
Together they’re a force to be reckoned with. Throwing modern recording techniques aside and using methods for a fifties-sixties sounding album, such as recording a section with multiple instruments all at one time, and playing period-specific instruments, The King Dukes have captured perfectly this raw, vintage backline on ‘Numb Tongues.’
We’ve seen a similar blueprint around our way with the brilliant Little Geneva, and if this is the trend then I’m in, hook, line and sinker. Although, naturally, those ol’ time classic soul songs never wane in appreciation, sometimes looking further afield to the rare grooves, like Northern Soul aficionados, often the tunes never make equal approval in production and quality. Numb Tongues meet this notion in middle; The King Dukes deliver fresh material with honours, and if heard in 1965 would surely be considered classics.
You can pre-save a copy of Numb Tongues here, there’s an album launch on December 7th at the LeftBank in Bristol; I’m keen to hear of anyone willing to bring these guys local for a gig. As you know Devizine doesn’t usually cover Bristol, too much going on and not enough hours in the day, but when it’s this good…….
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